Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Panama and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Lyon.
I'm losing my edge to the art-school New York kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Harpers Bizarre to the techno kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Mr. Review. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Country Joe & The Fish,
Kango’s Stein Massive,
the Soft Cell,
Heavy D & The Boyz,
Panda Bear,
Gong,
Adolescents,
Graham Central Station,
Siouxsie and the Banshees,
Slick Rick,
New Order,
Flipper,
Gang Starr,
Derrick Morgan,
Robert Hood,
Bronski Beat,
Lalo Schifrin,
Notorious BIG live in Amsterdam,
Wally Richardson,
Harry Pussy,
Beasts of Bourbon,
Electric Light Orchestra,
Peter and Kerry,
Grandmaster Flash and the Furious Five,
The Moody Blues,
The Techniques,
Eurythmics,
U.S. Maple,
Pierre Henry,
The Zeros,
The Pretty Things,
The Smoke,
Q65,
Intrusion,
Röyhkä ja Rättö ja Lehtisalo,
Mission of Burma,
10cc,
Public Image Ltd.,
Eyeless In Gaza,
Neil Young & Crazy Horse,
Derrick May,
Dawn Penn,
Half Japanese,
Echospace,
Brick,
Erykah Badu,
Kurtis Blow,
The Fugs,
Rosa Yemen,
Super Lover Cee & Casanova Rud,
Rod Modell,
Funkadelic,
Section 25,
The Knickerbockers,
Whodini,
Soft Machine,
Terror Squad Feat. Camron,
Todd Terry,
The Moleskins,
DNA,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.